Nourrice, is devoted to white iron cans which, stored in the open, are touched by stains of rust by the bad weather. This degradation is transfigured by the photographs, as if the metal had been coated in a gold foil, similar to that used for plating the orthodox icons. The cans become thus precious objects, which reveals the ambivalence of the Nourrice, who is both a jerrycan and a mother. Seen through a mesh that coincides with the image surface, they are placed on cardboards to show the perspective. A tension is thus revealed between the notion of treasury suggested by the cans’ gold and their negligent storing on the one hand, and between the surface and the image depth, on the other hand, which favours the parusia of the object.

Extract from the text by Vanessa Morisset, Art Critic and Philosopher at Centre Georges Pompidou, Paris.